Nikki Maloof

Caught and Free

March 21 – April 20, 2019

Installation View of Caught and Free

Installation View of Caught and Free

Installation View of Caught and Free

Dream of Summer, 2019

Oil on canvas
62 x 36 inches

Anxiety, 2018

Oil on canvas

48 x 60 inches

Root Bound, 2019

Oil on canvas
68 x 52 inches

Fresh Cuts, 2018

Oil on canvas
72 x 60 inches

Bouillabaisse, 2019

Oil on canvas
54 x 70 inches

Canaries, 2018

Oil on canvas

70 x 88 inches

Where the Warmth Was, 2018

Oil on canvas
60 x 50 inches

Cry Whenever You Need To, 2018

Oil on canvas
78 x 66 inches

Anxiety, 2018
Watercolor and colored pencil on cut paper

22 x 30 inches (26 x 33 framed)

Untitled, 2018
Graphite on paper
11.5 x 8 inches (19.5 x 15 framed)

Untitled, 2018
Graphite on paper
10.5 x 7.5 inches (18.5 x 15 framed)

Jack Hanley Gallery is excited to present Caught and Free, Nikki Maloof’s second solo exhibition with the gallery. In her new paintings, Maloof continues to develop environments inhabited by animals while transforming their natural surroundings into fully domesticated settings: a cat lying on an armchair, canaries looking through the bars of their prettily ornamented cages and fish lying on a kitchen table, about to be cooked and eaten for dinner.

 

Cartoon-like, Maloof’s goofy looking animals seem to be unaware of their situations, appearing humorous while equally evoking sympathy. A psychological tension is palpable throughout her works. While gay color palettes and playful domestic patterns on fabrics, carpets, curtains and kitchen tiles allude to happy homes, the headlines of discarded newspapers indicate otherwise: “Night Anxiety at All Time High”, “Cry whenever you want to”, “How did we get here and where are we going from now on?”. At first inviting in their joviality, the domestic patterns seem to embellish internal captivities of stagnation, quotidien routine and ennui.

 

The pervading analogy of animals and humans is also manifested in a play of perspectives. In ‘Canaries’ the viewer is caught in the cage together with three little birds, looking out into the world through bars where pigeons take a stroll on a window sill, flying freely. In Maloof’s adoption of a traditional painting language, vanitas symbols like dying owers, peeled lemons and fresh cut fish bring to mind existential themes of ephemerality and the limitations of life. Maloof transfers this heavily loaded symbolism into our times, unloading its seriousness through the use of a unique comical narrative and painting style. Funny and serious, inward and outward, caught and free, Nikki Maloof’s elaborate compositions resemble human existence and the complexities of life itself.

 

For more information please contact Silke Lindner-Sutti at silke@jackhanley.com

Nikki Maloof, (b.1985, Peoria, IL) lives and works in Western Massachusetts. She had solo exhibitions at Jack Hanley Gallery, Shane Campbell Gallery (Chicago) and The Pit (Los Angeles). Numerous group exhibitions include the 2018 Invitational Exhibitions of Visual Arts at The Academy of Arts and Letters (New York), Cheeky: Summer Butts at Marinaro Gallery (New York), Horror Vacui, or The Annihilation of Space, Misako and Rosen (Tokyo), Imagine at Brand New Gallery (Milan), Tiger Tiger at Salon 94 (New York) and Do The Yale Thing at the N’Namdi Center for Contemporary Art in Detroit.

 

Nikki Maloof in Artforum

Nikki Maloof in GARAGE